Last chance!
An untitled exhibition, featuring works by Kyla Dooley, Marjan Jamal, Tajliya Jamal, Bobby Malone, and Deepali Raiththa, closes today.
This exhibition explores themes of relationality and the reification of resistance. It asks: what does the embodiment of resistance look like?
Curated by Farah ElAfifi.
Image: Kyla Dooley, The Myth of Sisyphus, 2024. Courtesy of the artist.
On April 2nd, 2026 at 7:00PM, Access Gallery will be hosting the opening reception of its untitled Spring Exhibition. Curated by Farah Elafifi, the exhibition features the work of local artists Kyla Dooley, Tajliya & Marjan Jamal, Bobby Malone, and Deepali Raiththa. The exhibition explores themes of relationality and the reification of resistance. It asks: What does the embodiment of resistance look like?
Access Gallery invites you to embody resistance, and to witness the first ever live performance of Mergence by Deepali Raiththa. Join us for this unique opening on April 2nd at 6pm.
Artwork imagery courtesy of Deepali Raiththa
Photography by Rosalina Libertad
Decisions and Distractions, Access Gallery, 222 East Georgia Street
Hammock Residency 2025 residents: Amber Phelps Bondaroff and Meg Hubert
Opening: Thursday. March 26 from 7-9pm.
Show runs March 26-April 9, 2026
We live in a world of decisions and distractions. Our senses are constantly bombarded, and our attention is pulled in many directions at once. Social media feeds refresh endlessly, news cycles move quickly, and daily life fills our time with competing demands. There are responsibilities to meet, emotional obligations to consider, physical needs to attend to, and moments of self-care to find in between. Within this environment, our attention rarely stays still.
In the midst of this constant movement, we are always making choices—often without realizing it. What do we focus our energy on? What do we allow to pass us by? When does something become a meaningful decision, and when does it remain just another distraction?
Meg Hubert’s work playfully inhabits this space. Using ceramic egg shapes that function like geode-inspired surprise caches, the piece invites participation. Visitors are encouraged to select an egg and crack it open on the floor, breaking the ceramic shell to reveal the hidden object inside. The act is simple but deliberate, turning curiosity into a small moment of decision.
In Amber Phelp Bondaroff’s Super 8 film practice, intuition guides the process. Once the film is shot, there is no going back to revise or second-guess the moment. The decision is made in real time, and the work moves forward from there.
Together, these works reflect how attention, instinct, and choice shape our experiences.
Image description: There is a multi-colored central image of an abstracted image of sorts, with the text "Decisions and Distractions" in black ink and wavy, distorted font above it. In the top left corner is the show details in black arial font, same as mentioned above in this post. At the bottom footer the artists names are listed, and the words "a Hammock Residency exhibition in collaboration with Access Gallery"
Poster made by @cadaslain
Access Gallery is seeking a full-time Director/Curator.
Terms: Full-time position beginning with a one-year contract, with the expectation of 3-5 year term renewal following a successful first year.
Start Date: Between June 1 and July 1, 2026
Hours: 35 hours/week, flexible schedule
Salary: $58-61,000 per annum based on experience + benefits
Deadline for Applications: 5:00 PM PDT, April 15, 2026, or until the position is filled.
Reporting to the Board of Directors, the Director/Curator establishes the artistic vision for the organization and builds upon Access’ strong engagements with communities in Vancouver and beyond. The Director/Curator conceives and executes curatorial and public programming, produces publications, and oversees special initiatives. The Director/Curator oversees all aspects of centre operations, and is responsible for maintaining the fiscal health of the organization. The Director/Curator works closely with the Board of Directors to fulfill Access’ 2025-2030 strategic plan, which emphasizes the diversification of revenue streams, continued capacity building, alongside a continued commitment to innovative programming.
Access Gallery welcomes applicants with different skills and lived experiences to apply their vision in an artist-run organisation. We are committed to being a caring, transparent, and flexible employer. Persons who identify as Indigenous Host Nations (xʷməθkʷəy̓əm, Sḵwx̱wú7mesh, and səlilwətaɬ), Urban Indigenous, Two-Spirit, Black, racialized, LGBTQIA+, or disabled are encouraged to apply.
For full details on the position and how to apply, please visit: https://accessgallery.ca/news/call-applications-directorcurator
Last call!
Singing Water Stone closes tomorrow, March 5, 2026.
Singing Water Stone illuminates a maternal lineage of Indigenous resistance and re-presencing from the furthest extents of colonial erasure. This constellation of images features original works by artist Siku Allooloo alongside archival enlargements from the historic newspaper founded by her late mother in the 1970s, building upon her legacy as a groundbreaking Taíno activist and journalist. Spirit Emulsion – an experimental short filmed on Super 8 and developed by hand with plant medicines – connects earth to cosmos as flowers portray family love and ancestral sovereignty extending into the future. With Interface, a poem printed on silk, Allooloo reaches into the afterlife to connect with her Inuit grandmother, invoking ancestral love and connection as protection from colonial violence. A production still from her current work in progress (a feature documentary titled Indígena) shows the artist, six months pregnant, being ceremoniously adorned in a cave where Taíno have sought refuge from hurricanes and made offerings to the spirit world since time immemorial. Borrowing from the artist’s Taíno name, Singing Water Stone reflects the continuous struggle for liberation and rebirth that flows between mothers and daughters, across borders, by way of sacred homelands and the spirit world, spiraling endlessly throughout time.
Image: Siku Allooloo Indígena (still), digital image projection, 2026.
Installation view photographed by @racheltophamphotography
Board of Directors: Call for Members
Access Gallery is seeking a number of passionate individuals to serve on our 𝐁𝐨𝐚𝐫𝐝 𝐨𝐟 𝐃𝐢𝐫𝐞𝐜𝐭𝐨𝐫𝐬, for the 𝐲𝐞𝐚𝐫𝐬 𝟐𝟎𝟐6 – 𝟐𝟎𝟐8. We are seeking a number of individuals to serve on our Board of Directors within one or more of the following areas of expertise: Governance and legal Accounting and financial Fundraising and donor relations Personnel and HR Risk management
HOW TO APPLY
To show your interest in joining Access Gallery’s Board of Directors, send 1) a statement of interest (maximum 1 page), outlining your relevant expertise, and 2) a resume/CV, to [email protected], by March 17th, 2026.
Please visit our website for a full summary of the responsibilities.
Say hi to Ophelia! Ophelia is our BOD president!
Ophelia Yingqiu Zhao is a writer and curator from Beijing, China, currently living and working on the ancestral lands of the xʷməθkʷəy̓əm, Sḵwx̱wú7mesh and səlil̓wətaʔɬ peoples.
Her research explores the sentience of objects, and delves into the material existence of objects through poetry and speculative fictions. She is also a painter of still life, inquiring into the stillness of objects and their pre-commodity states of being. Zhao holds a MA degree in Critical and Curatorial Studies (2023), and a BFA degree in Visual Arts (2020) from the University of British Columbia.
Lisa Fevral is vice president of Access Gallery's board of directors. This is her second year on the board! Lisa is a Siberian(Russian) Canadian multimedia artist situated in the unceded Musqueam, Squamish, and Tsleil-Waututh territories. As an AYA cancer survivor, Fevral's art practice concerns itself with themes of illness, class consciousness, mortality, and luck. Her recent work is geared towards closing the gap between the realities of living with illness and what it should be—promoting greater understanding and support within communities, fostering empathy, and advocating for accessible resources and care.
Back again to re-introduce our BOD Treasurer - Rebecca Wang! 🤍
Rebecca Wang 王晨釔 is an artist and curator working between her hometown of Hangzhou, China, and the unceded territories of the Musqueam, Squamish, and Tsleil-Waututh nations, also known as Vancouver, Canada. Her multidisciplinary practice serves as a means of navigating personal confusions about life, many of which centre around the absurdity embedded in the structures that sustain the everyday, often shaped by capitalist consumer culture. Through nuanced personal and fictional narratives rooted in her diasporic experience, she seeks to challenge and destabilize the default ways of knowing, perceiving, and existing, which can disconnect individuals from their surroundings and sense of belonging. Rebecca holds a BFA from Emily Carr University of Art + Design and a BBA from Simon Fraser University. She is currently pursuing an MA in Critical and Curatorial Studies at University of British Columbia. Rebecca also works as the Curatorial Assistant at Richmond Art Gallery and a Senior Program Facilitator with Carnegie Community Centre.
Another important member of Access Board of Directors, Hania, has already been on the board for over a year now, and she is this year's Secretary! Hania Ilahi is an arts cultural worker born in Karachi, Pakistan and living on the unceded and unsurrendered lands of the Halkomelem speaking peoples.
She holds a BA from the University of British Columbia in Art History and Asian Studies and hopes to strengthen the non-profit arts sector by ensuring equitable resource distribution among cultural producers and facilitators, thereby supporting sustainable careers in the arts for all.
Say hello to another member of the board of directors at Access who is in her second year with us! Otilia Sabina (she/her) is a visual artist and designer, born in Bucharest, Romania. Her studio practice researches memory as a vehicle for shaping personal identity, values, and beliefs. Drawing from stories of her life prior and post immigrating to Canada in 1998, Otilia’s work bridges the familiar and unfamiliar aspects of her history through a process of iterative fragmentation, using collage and digital image manipulation. She holds a BFA from Emily Carr University of Art + Design and currently lives and works on the unceded, ancestral, and occupied traditional lands of the xʷməθkʷəy̓əm, Sḵwx̱wú7mesh, and Səl̓ílwətaʔ Nations of the Coast Salish peoples, also known as Vancouver.
